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Lee Ufan

(1936 ) Wikipedia® : Lee Ufan
UFAN Lee With Winds

Christie's /Nov 16, 2016
317,086.43 - 407,682.55
Not Sold

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Variants on Artist's name :

Lee U-Fan

 

Artworks in Arcadja
455

Some works of Lee Ufan

Extracted between 455 works in the catalog of Arcadja
Lee Ufan - From Point

Lee Ufan - From Point

Original 1984
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Lot number: 13
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Description:
Lee Ufan B. 1936 , 李禹煥 From Point 1984 signed, titled and dated 1984 on the reverse with Tokyo Gallery label affixed on the reverse pigment on canvas 32 x 42cm (12 5/8 x 16 9/16in). Provenance Tokyo Gallery, Tokyo Acquired directly from the above by the present owner in 1986 This work is accompanied by a note of confirmation issued by Tokyo Gallery. 從點 顏料畫布 1984年作 背面簽名:Lee Ufan 1984 From Point 背面附東京畫廊標籤 來源 東京畫廊 現藏家於1986年直接購自上述畫廊 此作品附東京畫廊所發之保證書
Lee Ufan - Relatum

Lee Ufan - Relatum

Original 1986
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Lot number: 861
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Lee Ufan RELATUM B. 1936 steel and stone each steel: 3 (H) by 120 by 81 cm; 1⅛ (H) by 47¼ by 31⅞ in. stone 1: 33 (H) by 37 by 46 cm; 13 (H) by 14½ by 18⅛ in. stone 2: 31 (H) by 41 by 41 cm; 12¼ (H) by 16¼ by 16¼ in. executed in 1986 Provenance Private Japanese Collection Exhibited Japan, Kyoto, Gallery Maronie, Lee U-Fan Sculpture,25 February - 9 March1986 Literature Lee Ufan,Toshi Shuppan, Tokyo, Japan, 1993, p. 134 Catalogue Note Fig. 1 Artist’’’’’’’’s sketch of current lot
Lee Ufan - From Point No. 790278

Lee Ufan - From Point No. 790278

Original 1979
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Lot number: 3
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Lee Ufan B. 1936, 李禹煥 From Point No. 790278 1979 signed and titled on the reverse mineral pigment and glue on canvas 72.7 x 60.6cm (28 5/8 x 23 7/8in). Provenance Private Collection, Japan (acquired directly from the artist circa 1979) Private Collection, Japan (acquired from the above circa 1985) Acquired from the above by the present owner 從點790278號 礦物顏料、膠水畫布 1979年作 背面簽名:From Point No. 790278 Lee Ufan 來源 日本私人收藏(約1979年直接得自藝術家) 日本私人收藏(約1985年直接購自上述收藏) 現藏家購自上述收藏
Lee Ufan - With Winds

Lee Ufan - With Winds

Original 1990
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Lot number: 435
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Description:
Lee Ufan (b. 1936) With Winds signed and dated 'L. Ufan 90' (lower right); signed, titled and dated 'With Winds 1990 Lee Ufan' (on the reverse) acrylic on canvas 44 1/4 x 57 1/2 in. (112.3 x 146 cm.) Painted in 1990. Lee Ufan’’’’’’’’s With Winds is one of the last works in a series of evocative abstract paintings the artist began in 1982 and marks the culmination of a ten year investigation into free flowing form. Painted in 1990, the present work exhibits the progression of Ufan’’’’’’’’s conversation with abstraction in comparison to the ever-changing volatility of the wind. Beginning with a light colored off-white canvas, he moves his brush through the pigment, distributing color in expressive streaks across the painting’’’’’’’’s surface. Some appear darker than others as Ufan lets the materials speak for themselves, allowing them to dictate the outcome of his process. The artist has long been intrigued with the concept of infinity and explores the never ending enigma with each stroke. By spreading the pigment from thick to thin, Ufan creates an infinite array of shades and figures within his never-ending composition. As the artist has stated: “One way of showing the idea of infinity in a picture is in the repetition of figures. As with living organisms, it is repetition of birth and death, death and birth, yet it must be sequenced so each movement is unique and separate. The organic device whereby each brushstroke, each figure is independent and mutually related makes a picture full of forces” (quoted in an unpublished Board note presented to Tate Gallery Trustees, July 1997, Tate Artist Catalogue File, Lee Ufan, A21074). Lee Ufan studied philosophy at Nihon University in Tokyo after deciding the subject was essential to his future artistic endeavors. This decision would indeed prove indispensable as his philosophical training would go on to inform the core of his views on abstraction. After finishing his studies and starting to paint full-time, Ufan became a key theorist and establishing member of the Mono-ha, an avant-garde materials-based art movement in Japan during the 1960s, and the first Japanese contemporary art movement to gain international recognition. Here, Ufan pronounces his own voice and notable style. His vision of abstraction was vastly different from those of western artists such as Jackson Pollock and Willem de Kooning. Instead of catalyzing his abstraction through expression and emotion, Ufan and the Mono-ha practitioners focused on perception and the artist’’’’’’’’s relationship with materials.
Lee Ufan - From Line No. 780210

Lee Ufan - From Line No. 780210

Original 1978
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Lot number: 114
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Description:
Lee Ufan FROM LINE NO. 780210 signed and dated 78; signed and titled on the reverse oil and mineral pigment on canvas 91 by 116 cm. 35 7/8 by 45 3/4 in. Private Collection, Japan (acquired directly from the artist circa 1979) Private Collection, Japan (acquired from the above circa 1985) Acquired from the above by the present owner Catalogue Note One of the world’’’’’’’’s foremost Korean artists and minimalists, Lee Ufan has enraptured the global public with his poetic artistic language. The present work is an exceptional example from one of his best-known series: From Line, produced between 1973 and 1984, which documents his important experimentation on the ephemerality of mineral pigment and laying the foundation for his ground-breaking minimal work for the next four decades to come. In the present work, deep powdery blue emanates from the raw canvas in a cascade of waning pigment. Each mesmerising line contains within it the traces of the artist’’’’’’’’s physical movement at the moment of creation and acts as a visual record of the gradual passing of time as the work was produced. Synchronising each brushstroke with the careful rhythm of his breathing, Lee Ufan formed the From Line works as a physical exercise in meditation, each drawn out line dissipating into nothingness as the artist expels the last of his breath before the process begins again. Extending the ideals of the Mono Ha - or ‘things school’’’’’’’’ sculpture movement - which Lee pioneered in the late 1960s, From Line No. 780210 focusses on the original beauty of materials, reducing each component to its most natural form to affect a compelling organic engagement with the viewer. In creating these works, Lee mixes ground minerals with nikawa animal-skin glue before applying it to unprimed canvas with a round headed brush. Lee gives equal importance to the painted and unpainted areas, reinforcing his focus on materiality as well as alluding to the significance of ‘nothingness’’’’’’’’ in Buddhist philosophy. From Line No. 780210 chimes with aspects of traditional Eastern aesthetics, notably the sentiments of ‘thinking with the brush’’’’’’’’ and the Zen Buddhist teachings of Kitarō Nishida. But as a Korean émigré who arrived in Japan at a time of particular tension and unrest between and within both countries, Lee opted for a harmonic outlook; finding solace in the philosophies of both Eastern and Western teachings. In spite of mounting cultural incompatibility, Lee pioneered a new artistic language through his philosophical approach which spearheaded the Dansaekhwa monochrome painting movement, forming ‘pure experience’’’’’’’’ and showing ‘the world as it is’’’’’’’’. Fig. 1 Morris Louis, Number 1-82, 1961 The Phillips Collection, Washington, D.C. Image: © Bridgeman Images Artwork: © Maryland College Institute of Art (MICA), Rights Administered by ARS, NY and DACS, London, All Rights Reserved 2016
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